PAINTINGS
In the early 2000s, Mayeul Irlinger began experimenting with painting within an artist collective, where he discovered the technique of negative lettering through masking. It was at this point that he realized the potential to create complex patterns that were both raw and sophisticated.
His first paintings took shape in informal places — streets, warehouses, and industrial wastelands. The three tools that became essential to his process naturally came from the urban and industrial world: masking tape used in construction, acrylic paint, and the roller.
He continued this approach using “non-artistic” materials, painting on plywood panels and other supports found in construction skips or abandoned in the streets.

Strongly influenced by his experience as a screen printer, he developed a “negative” technique based on alternating layers of masking tape and paint (acrylic and spray). The many adhesive layers are then torn away, revealing dynamic, vibrant compositions. This process gives rise to large textured compositions that evoke an organic landscape—sometimes chaotic, sometimes more ordered, but always alive—like a frozen instant in the weaving of events.
Each painting appears as an atmospheric snapshot, a reflection of an entangled ambiance of actions suspended in time.

He describes his practice as “informational abstraction”, an invisible weaving of the interactions of living systems, perceived as a network of interconnected planes of existence.
This includes the relational and social fabric, as well as the cultural, religious, technical, informational, energetic, and atomic dimensions (collective values, trends, egregores, microwaves, electricity, atoms).

MUSIC AND SOUND CREATION
For more than twenty years, Mayeul Irlinger has explored music through collaboration and improvisation. Since 2021, he has been conducting a research project using experimental setups.
In April 2024, he launched an online journal on Bandcamp, where he shares the results of his experiments. This work combines a conceptual and narrative approach, and the journal allows him to explain the origins of each device or process.

Today, he works mainly with “concrete” sounds, which he combines with unconventional sound sources such as contact microphones, magnetic tapes, and rudimentary instruments that he builds himself. Through these tools, he develops a personal folklore, playing with the textures and dimensions of sound. The idea of an inhabited multidimensional world underlies his music.

BIO
Mayeul Irlinger is a musician and visual artist based in Rabastens, in the Tarn region (southern France).
Trained in community-based education (BEATEP certification), he became involved in social and cultural animation by organizing intercultural exchanges and artistic workshops within a wide range of institutions and with diverse audiences (youth centers, art centers, media libraries, medico-social facilities).

Primarily a musician and music enthusiast, in 2013 he opened an independent record store and a screen-printing workshop in Rabastens. These spaces became meeting points and creative hubs. Two publishing projects emerged from this dynamic:

• Tomaturj, a micro-label for cassettes and vinyl records;

• Silex-Éditions, which developed a collection of screen-printed artworks in collaboration with renowned visual artists, exploring themes such as esotericism and invisible worlds.

He is also a founding member of Radio Octopus, a local web radio that has been active for over ten years in the Tarn region.

Since 2021, he has fully devoted himself to his visual art practice, focusing on contemporary painting and experimental sound creation, including an online audio journal.
As a multi-instrumentalist and versatile performer, he plays solo and collaborates with artists from the alternative and improvised music scenes. Still deeply engaged in popular education, he regularly works with sociocultural and educational associations, developing artistic transmission projects.